碩士論文

Racial Identity and the Blues in Langston Hughes's The Weary Blues and Fine Clothes to the Jew 蘭斯登‧休斯「疲倦藍調」與「好衣服賣猶太人」中種族定位與藍調之關係

學年 / 90　學生 / Louise Yi-ning Chen 陳怡寧　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Langston Hughes was an important figure in the Harlem Renaissance of the 1920s’ America. Like other blacks, he faced the dilemma of double-consciousness. My thesis focuses on his attitude toward dual-identity in The Weary Blues, “The Negro Artist and the Racial Mountain,” and Fine Clothes to the Jew. His essay plays a significant role as a bridge between the two books of poetry. Created and defined first by W. E. B. Du Bois, double-consciousness was a problem of identity confronted by black writers and artists. For a black, being an “American” means to see his self through the eyes of the whites and the veil of primitivism; while being a black means to express his individuality and racial reality. In other words, in double-consciousness, the blacks had to “negotiate between representations of self, and representations of blackness fixed in the minds of audience accustomed to white caricatures” (Krasner 9).
In my discussion, I argue that there is a progressive change in Hughes’s attitude toward double-consciousness. In The Weary Blues, Hughes is ambiguous about his identity. On the one hand, he declares black solidarity, unity, and achievement. On the other hand, in his portrait of the blacks, he cannot escape the stereotypes of primitivism. His poetry implies a compromise with the white audience. However, in “The Negro Artist and the Racial Mountain,” Hughes begins to identify with the black proletariat, whose culture was a “vulgar secret shame” in the eyes of the black middle class. Despite his class-consciousness, Hughes’s presentation of the black masses is still in the shadow of primitivism. Not until Fine Clothes to the Jew does Hughes present a realistic portrait of the black masses. In the naturalistic tradition of the blues, Hughes’s presentation of the black proletariat subverts the white primitive stereotype and poetical framework. Therefore, his identity becomes clearer, when he chooses not to be an “American” in primitivism but to be a black in blues realism. Standing with the black proletariat and the blues tradition, Hughes’s poetry becomes a literary model in the 1920s.

在1920年代美國的哈林復興運動中(the Harlem Renaissance)，蘭斯登?休斯(Langston Hughes)是一位重要人物。休斯和其他黑人一樣，面臨了雙重意識的難題(double-consciousness)，我以他的三個作品為重點：《疲倦藍調》(The Weary Blues)、〈黑人藝術家和種族高山〉(“The Negro Artist and the Racial Mountain”)、《好衣服賣猶太人》(Fine Clothes to the Jew)，來探討他對雙重意識的看法，其中他的文章〈黑人藝術家和種族高山〉扮演橋樑的角色，串聯這兩本詩集。雙重意識之觀念乃由都柏(W. E. B. Du Bois)首先提出，這是所有黑人作家共同面臨的難題，對一個黑人而言，要成為一「美國人」，意謂著他必須透過白人的眼光和原始主義(primitivism)來看待自己，而作一位真正的「黑人」，則表示他得以展現獨特自我和種族原貌，換句話說，在雙重意識的難題中，黑人必須在呈現自我(representations of self)和呈現黑人既定形象(representation of blackness fixed by white audiences)之間尋找出路。
　　　　我認為在休斯這三件作品中，他對雙重意識的態度有一漸進式的轉變。在《疲倦藍調》中，他的定位模糊兩可，搖擺不定，他的詩一方面提倡黑人的團結、聯合，高舉其歷史成就，另一方面，對黑人的描繪卻仍難逃原始主義的樣板(stereotype)，於是他的作品隱約與白人讀者的品味妥協。然而，在〈黑人藝術家和種族高山〉中，休斯開始認同黑人無產階級的文化，與他們聯合陣線，(其文化在黑人中產階級眼中可謂「民族之恥」)，休斯此時已經擁有階級意識(class-consciousness)，可惜他所呈現的黑人平民仍帶有原始主義的陰影。一直到《好衣服賣猶太人》，休斯才展現出真實的黑人大眾文化，他採用藍調的寫實傳統，顛覆了白人對黑人所賦予的刻板印象。所以，當他揚棄作一個原始主義中的「美國人」，而選擇去認同藍調中真實描繪的黑人時，他的定位便清楚呈現了。休斯認同黑人無產階級和藍調傳統，以此為基礎，在1920年代創造了一種新的文學典型。

Seeing "The Real Thing": The Aesthetics of Impressionism in The Ambassadors 看見真實": 亨利詹姆斯"奉使記"中的印象主義美學"

學年 / 90　學生 / Allison Tzu-yu Lin 林孜郁　指導教授 / Dr. Joseph Murphy 墨樵老師　

This thesis is a response toward several crucial questions: What is the aesthetics of Impressionism? How have James and Sargent been influenced by Impressionism during their process of artistic creation? The aesthetics of Impressionism is the essence that James and Sargent shared in common, the very air that both of them breathed in the European cultural milieu as sensitive cultural observers in their time.

Chapter One "Sensations Falling on the Retina: Vision and Representation in James and Sargent" begins with the definition of Impressionism and the relation between James, Sargent and the visual arts. I focus my discussion on the relation between James and Sargent in terms the Impressionist aesthetic value - sunlight and landscape. Since Impressionism is the very air that James and Sargent breathed while staying in Europe as cultural observers, we need to explore the fundamental concepts of Impressionism to understand James's and Sargent's artistic methodologies and ideologies.

Chapter Two "In the Chamber of Consciousness: Strether's Modes of Vision" deals with Strether's multiple modes of vision in the text. The dualism of Strether's process of vision means not only the interplay of his vision, objects and desire, but also the transformation of his consciousness - how his inner interpretative scheme reflects and evaluates his visual experiences. By portraying the "center of consciousness" as a drama, James developed a new technique of fiction writing.

Chapter Three "Seeing Through the Window Frame: Jamesian Aesthetics of Form" deals with the issue of "narrative form" in terms of James's writing technique and his unique representational strategy. I define James's aesthetic value of the novel as a "utopian enclosure narrative form" to indicate the dualism of Jamesian of first person authorial point of view. This "I" is a standpoint for James's "self-indulgence" literary performance. On the other hand, this "I" provides a frame which unified the whole design of the novel.

本研究探討何謂印象主義美學，以及James和Sargent如何在藝術創作的過程中被此一文化現象 / 運動所影響。論文中以James的The Ambassadors為研究起點，加入Sargent的畫作銜接文學與藝術在印象主義美學中的對話，成為一跨學科的研究方法。

論文共分為五部份 : 前言，正文三章，及結論。前言的部份介紹James與Sargent的印象主義淵源。之後探討文本The Ambassadors中的印象主義美學。第一章著重探討印象主義的哲學及技法，以James及Sargent的作品說明繪畫與文學印象主義的交流。第二章探討The Ambassadors中Strether在文本中的多重視覺模式。第三章說明James的敘述形式美學，即James如何透過視覺框架建構其文本為一精緻的藝術品。最後以藝術家自身與其作品的象徵體系(symbolic system)作結。

Two-Staged Reduction In George Orwell's Nineteen Eighty-Four 喬治歐威爾在「一九八四」中對人性的兩階段貶抑

學年 / 90　學生 / Joyce Tzu-Yu Liu 劉子瑜　指導教授 / Fr. Daniel Bauer 鮑端磊老師　

The aim of my thesis is to argue that reduction in Nineteen Eighty-Four has two stages. In the first stage, reduction is a terrible means for the Party to pursue absolute power. Chapter One discusses how the government reduces the public life of Outer Party members, in terms of poor material life, restricted language, chosen history, and limited knowledge. Chapter Two centers on the dehumanization of private life of citizens, especially on hostile family relationships, barren marriage life, the loss of joy in sex, and twenty-four-hour surveillance. However, with merciless and mechanical control, both the ruled and the rulers are reduced to soulless and heartless automatons, which is how the second-staged reduction shows itself, and which is my focus in Chapter Three. And Oceania, a seeming Utopia with the mask of high technology and efficiency, is but an act of imagination, a ruthless world of mechanism, and an earthy hell.

喬治歐威爾在「一九八四」中對人性的貶抑可分為兩個階段。第一個階段?，統治者以壓抑人性的方式，達到其追求完美權力的目的。本論文第一章主要探討政府如何以外部生活操控百姓的行動和思想：如粗劣的物質生活、淨化頭腦的「新語」、選擇性的國家歷史和個人記憶、以及貧乏的知識等。第二章則深論在位者如何從內部生活剝奪人民保有人性的能力：如敵對的親子關係、以生殖為前提的婚姻與性生活、以及無所不在的監控系統等。第三章中我們可以看出，在如此冷酷無情與機械化的控制下，不但飽受折磨的「黨員」變成沒有思想的空殼，就連野心勃勃的「黨」也逃不過被貶為沒有靈魂的機器人的命運，而這正是第二階段人性貶抑的結果。此外，文中擁有高科技與高效率的超級強國－「大洋國」，其無敵強權其實只是幻象；所謂的「理想國」實際上是個毫無人性的機械城，更是可怕的人間煉獄。

Confrontations with Otherness: Boundaries Between the Self and others in Elizabeth Bishop's Poetry and Prose 遭遇他者：伊莉莎白．畢夏詩文中自我與他者間之疆界

學年 / 90　學生 / Jessie Yi-Ru Chen 陳怡如　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Elizabeth Bishop (1911-1979), an American woman poet, frequently uses the theme about boundaries between the self and others in her poems and prose pieces. She usually probes into the issue from the aspect of the difficulties to situate the self when confronting others. For example, how to enter the world of others, how to identify with others, and how to deal with a sense of alienation that comes from boundaries of understanding between the self and others. Therefore, this thesis focuses on the issue of “boundaries between the self and others,” from which to explore Bishop’s concepts about constructing self-identification when confronting unknown others. Besides the parts of “Introduction” and “Conclusion,” this thesis will develop with three chapters to study people’s inner struggle and disorientation when confronting others.
Bishop often takes clips of her childhood experience as sources and backgrounds of her poems and prose pieces, which are presented through a narrative of the child speaker, a perspective of a child to show relationship between a child and adults. Chapter one uses poems and prose pieces about Bishop’s childhood experience, “In the Village,” “The Country Mousse,” and “In the Waiting Room,” as the examples to explore boundaries between a child and adults, and problems about the boundaries. For instance, the boundaries form a sense of alienation between the child and adults, and the sense of alienation disorients one’s self-identification. Following the discussion about the issue of alienation, chapter two explores human vulnerability, the fear about the inability to connect others, by analyzing Bishop’s allegorical poems: “Rainy Season; Sub-Tropics” and “The Man-Moth.” Because of the fear, one turns to avoid contact with others and becomes self-incarcerated, which forms a vicious circle that one becomes even more alienated from others. In chapter three, Bishop’s poems about “traveling to the otherworld”-- “Questions of Travel,” “The Riverman,” and “Manuelzinho”─will be used to study her search for connection with others in an alienated relation between the self and others. Because travel itself is the movement crossing beyond geographical boundaries, it becomes Bishop’s metaphor to cross boundaries between the self and others. Although it is not an affirmation of the frailty of boundaries between the self and others, travel symbolizes an attempt to decrease the distance between the self and others, an attempt to connect with others.

美國女詩人伊莉莎白?畢夏 (1911-1979) 的詩文創作中，常以自我與他者間之疆界為核心主題，探究自我在與他者的互動關係中，所會遭遇的種種難題，包括如何融入他者的生活圈，如何能對他者產生認同感，以及人我之間的隔閡所造成的疏離感。本論文即以此 “人我間的疆界” 為研究主題，探討畢夏如何於複雜的人我關係中，建立認同感，進而尋求自我之定位。除緒論與結語外，本論文將遭遇他者時產生的迷惘與內心的衝突，分以三章討論。
畢夏常以自身童年經驗為創作藍本，這類創作多從兒童的敘事觀點來呈現兒童與成人世界的關連。第一章即以此類作品為例，由其中所呈現的兒童與成人間之隔閡，來探討人我間的隔閡所造成的疏離感，並試圖分析此疏離感如何影響自我認同。第二章則延續上章對疏離感之論述，引用畢夏部份 “動物寓言體” 之詩作為例，藉由分析其中所呈現之角色特徵，以探討人性中懼怕無法融入他者世界之弱點，而逃避與他者接觸，形成自我封閉，卻造成與他者關係更加疏離之惡性循環。第三章以畢夏之 “旅居” 主題詩作為例，研究畢夏如何於疏離的人我關係中，找尋出路。由於 “旅行” 乃跨越地形疆界之具體行動，畢夏因而引申其義，用以探究人們是否真能跨越人我間之隔閡，縮短人我間之認知差距。

Self-identity in The Comedy of Errors : The Power of Law, Marketplace and Christianity 莎劇《錯中錯》中自我定位之探討：法律、市場及宗教力量

學年 / 89　學生 / Angela Chun-Ling Wei 魏君玲　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

This thesis explores Elizabethan sociopolitical culture and its relationship to self-identity, especially the ways Shakespeare represents the powers of the law, marketplace and Christianity in early modern London and how these powers influence self-identity in his early play The Comedy of Errors. Based on a New Historical reading, I investigate how the powers of law, marketplace and Christianity are inconsistent and unstable; thus self-identity is not achieved ultimately.
Chapter One centers on the relationship between law and self-identity. Like English law in Elizabethan times, the law in Ephesus reveals its uncertainty: the law is marketed-oriented which emphasizes commercial benefits rather than legal justice, and the law echoes the conflict of legal discourses between constitutionalism and absolutism. Thus the inconsistent position of law fails to construct self-identity.
Examining the relationship between "purse and person" or people and commodity, Chapter Two focuses on the power of the marketplace and self-identity. The blooming of capitalism and markets in sixteenth century England strengthened people's thoughts on money, exchange and commodity. Nevertheless, the material vision only complicates the "errors" in the play.
I argue in Chapter Three that the power of Christianity is not the ultimate agent for self-identity. The play embodies and presents an Elizabethan homily about order and obedience, the puritans' discontent with the Elizabethan church, and two opposing images of Queen Elizabeth I. The power of Christianity is challenged.
Therefore, the institutional power or agent help construct an individual's identity remains a question. Shakespeare leaves the issue unresolved.

莎翁在此劇中再現了文藝復興女王伊利莎白時代的社會情況與文化，將其所生存的歷史世界和文本世界作了聯結，此劇的背景地點以弗所正是莎翁時期倫敦的呈現。因此，此篇論文將展現莎翁如何在此劇中再現女王伊利莎白時代中的三個力量－法律，市場與宗教，及探討這三個力量和自我定位的關係。
第一章我探討了法律與自我定位的關係，如伊利莎白時代的英國法，劇中以弗所的法律呈現出他的不確定性與市場導向，也展現出了當時憲法主義與極權主義的衝突。法律的不一致性無法幫助劇中人物對自我定位的探尋。
透過審視物與人的關連性，第二章著墨於市場的力量與自我定位的關係。十六世紀的資本主義與市場的興起強化了人們對錢、利益交換與買賣的觀念。然而，物質的表象卻使得自我定位更加模糊。
在第三章裡，我反對傳統上任為基督教力量是自我定位的最終答案的觀點。這個劇含有伊利莎白時代強調秩序與服從的訓誡文，清教徒對伊利莎白教會的不滿，並且也展現兩種不同的伊利莎白的形象。但是基督教的力量到最後依然是被質疑的。
因此，究竟什麼是可以定位自我的最終力量？莎士比亞在這個劇中，還是留下了一個懸而未決的問題。

Self-Justification and Self-Obliteration in Seamus Heaney's Poems 謝默斯‧黑倪詩中自我定位、否定和藝術之衝

學年 / 89　學生 / Ophelia Chu Feng Lin 朱鳳蓮　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Self-justification moves to release subjectivity from the institutionalized community, and self-obliteration deconstructs the communal faith and struggles in conflicts of transgression and individual space. In the severe political conflicts, Heaney demonstrates that poetry is not the alternative expression between politics and art. For him, to write is to construct a new cultural frontier that resists political persecutions and justifies the released human relationships. Through crises of self-abnegation, the poet manifests his trust in aesthetics. In chapter one, I assert that from the interlocking silence and language, poetry resists social mechanisms and justifies that poetic identity confronts sectarian conflicts. Heaney critiques social mechanisms and poetic responses. His departure from Belfast reveals new confrontations with subjectivity and social oppressions. In chapter two, I argue that self-obliteration deconstructs concepts of solidarity and justifies aesthetic consciousness from disillusionment in transcendence. Heaney questions the suffocative concept of solidarity and tribal identification. The poet is confused and in despair. The last chapter I suggestthat aesthetic justification is socially bound, and through the frustrated desire to be free, Heaney justifies a sense of emptiness and harmony in personal space and human relationships. This thesis illustrates conflicts in subjectivity and analyses communal restraints. Through examining the institutionalized self, art is a source to construct personal space and release.

本篇論文旨在探討謝默斯?黑倪在政治紛擾的社會生態，定位自我和藝術的衝突。第一章的語言形成多層次的文化社群，抗衡社會暴力，沼澤詩連結被壓迫族群的聲音，而文學角色則表達英國愛爾蘭文化認同的衝突，黑倪遠離貝爾法斯否定社會語言暴力，重建詩的文化信念。第二章討論社會意識的抑壓人性，否定社會權力的集體普遍化概念，詩人拒絕藝術傳達派系動亂的政治思想，疑惑詩的社會性，在自我否定的失落中，重申詩的生命。第三章闡明變動是生命的常態和藝術的原動力，而飛翔的意象，引申跨越社會壓抑的人性，強調藝術不與社會價值妥協，主張個人空間以及和諧人我關係的重要。

The Reading of Intertextuality in Anne Bronte's Writing and Drawing 閱讀安‧勃朗特書寫與繪畫中之互文性

學年 / 89　學生 / Brian Guan-rong Chen 陳冠榮　指導教授 / Dr. Joyce Chi-hui Liu 劉紀蕙老師　

The aim of my thesis is to examine the intertextuality and the mosaic of different levels of discourses in Anne Bronte's _The Tenant of Wildfell Hall_. I notice that the novel possesses multi-dimensional levels. It is a nexus connecting social and cultural discourses related to women's condition in contemporary nineteenth century. Anne Bronte attempts to present her anti-patriarchal projects through the novel. At the same time, she also reveals her framed condition and de-framing anxiety by presenting the recurring frame imagery through her drawing. However, I have discovered the rupture in the narrative structure that Anne Bronte's discourse is still enclosed and embedded within a more powerful discourse of patriarchal framework. Helen's story could remain the mode of traditional love-story narration. Anne Bronte's narrative strategy of the embedded narrative under this circumstance seems to reduce her anti-patriarchal challenge, and fails to eliminate the influence of patriarchal Judeo-Christian values and narrative traditions.

本論文主要探討安?勃朗特的小說《荒野怨婦情》中之互文性，以及其中不同論述層次鑲嵌特質。本人注意到，該小說具有多面向的互文層次，是個聯繫著有關十九世紀英國婦女社會文化論述的環節中心。作者試圖藉由小說伸張她反父權計畫。同時，她也藉由繪畫的互文，以重覆出現的框架意象表現自身受框限的狀態與去框的渴望。然而，似乎從作者的論述和敘事結構看來，她仍受限於更為強大的父權論述框架中。在此狀況下，她的鑲嵌敘事文體似乎減弱了她原先欲挑戰父權意識的企圖心，使得海倫的故事仍可能流於傳統浪漫愛情故事的敘事模式，而未能成功地擺脫猶太基督教以男性為中心的價值觀念和敘事傳統。

Musical Expression as an Ethnical Identity in Three Plays by August Wilson 奧古斯特‧威爾森三劇中以藍調詮釋族裔認同之省思

學年 / 89　學生 / Philip Chia-Yi Chang 張嘉怡　指導教授 / Ms. Cecilia Liu 劉雪珍老師　

This thesis focuses on the blues as cultural and ethnical identities in three of August Wilson's plays, Ma Rainey's Black Bottom, Joe Turner's Come and Gone, and Fences. The goal is to examine how the blues can function as one part of African roots and as a collective memory and experience for black Americans. The blues in Ma Rainey is treated as a commercialized product and commodity to entertain the popular taste. Yet, Ma Rainey insists on the idea that the blues as African heritage black Americans should remember. In Joe Turner's Come and Gone, the emphasis is to recover the lost song that worth singing, that is, self-determination, and self-identity. Moreover, the stress is that black Americans should find out their self-worth before they achieve self-determination and self-identity. Coming to Fences, the blues becomes "a way of life" and "a way of talking." In other words, the blues has been transcended to express black Americans' daily life and illustrate their attitude toward this fast changing social condition in the 1960s.
The content is divided into three parts that deal with these three plays respectively. The theories applied are Stuart Hall's idea of "cultural identity," "diaspora experience," and "articulation." When analyzing how black Americans are subjugated as minority and non-class race, Louis Althusser's concept of "ideology" will be applied to see through this process. Foucault's "discursive formation," on the other hand, helps explain characters' attitude toward the past and the present history. As a result, this thesis combines "history," "music," "identity," and "culture" to provide a better view about August Wilson's plays.

此論文試探討奧古斯特?威爾森如何於其三劇中，以藍調為主軸來詮釋非裔美人之「族裔」與「文化」認同的問題。本論文分為五個部分，第一與第五為緒論與結語；二、三、四分別為第一、二、三章。緒論部分會對黑人劇場的歷史背景作一簡介；第一章探討於「瑪芮妮之黑臀」〈Ma Rainey's Black Bottom〉中藍調被商業化與黑人樂手遭剝削之問題，進而切入種族認同之議題。第二章著墨「喬透納之來去」〈Joe Turner's Come and Gone〉一劇中南方黑人北移至北方時，所面臨不管是在工作亦或是生活環境上，所遭受不平的等待；進而帶入黑奴解放前／後之種族與自我認同之議題；第三章試分析於「籬笆」〈Fences〉一劇中藍調如何轉變為反映黑人對於六０年代快速變化之社會與政治環境之態度。

Ideology and Class Conflicts in Sons and Lovers 《兒子與情人》中的意識型態和階級衝突

學年 / 89　學生 / Annie Fang-chuan Hsieh 謝芳涓　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

This thesis is an attempt to understand the ideologies of _Sons and Lovers_ through the class conflicts in content and form and the influence of Lawrence''s life experience and the ideology of organicism on his views of life force. _Sons and Lovers_ is a novel full of contradictions; these contradictions are not only caused by Lawrence''s system of duality, complicated and unique artistic style, but they also reflect his ambivalent class attitudes and his struggles in identity and philosophy. This novel presents Lawrence''s significant concern for the working class and the effect of his Oedipus Complex, but his sympathetic presentation of the working class have more to do with his life philosophy than a genuine understanding of the class and their struggles. Class serves as one element in Lawrence''s system of duality: the working class embodies his ideal of vital life force and the middle class, possessive and destructive power. _Sons and Lovers_ suggests the formation of Lawrence''s early life philosophy: the struggle of vital self away from the danger of disintegration.
Based on the theory of Fredric Jameson and Terry Eagleton, this thesis discloses the ideologies of the text through the contradictions within it and the contradictions between the text and contemporary history. Chapter One is an “immanent study” in Jamesian term, and this chapter focuses on the class conflicts in the relationships of Mr. and Mr. Morel, of William and Lily, and of Paul, Miriam and Clara. Chapter Two is also an “immanent study” to explore the novel''s aesthetic ideology, in Eagleton''s term, through the contradictions in narrative perspectives and imagery. Chapter Three moves to the “social” level of Jameson''s three-level analysis and turns to examine Eagleton''s “authorial ideology” and “general ideology” in the text through placing _Sons and Lovers_ in social and historical context. Conclusion traces Lawrence''s searching for life force through his later novels to examine the immersion of his life philosophy in his works.

本論文旨在了解《兒子與情人》中的意識型態，主要研究小說中內容與形式所呈現的階級衝突和勞倫斯的生活經驗與生命共存主義意識型態對他所持生命力觀點的影響。《兒子與情人》是一部充滿矛盾衝突的小說,這些矛盾衝突不僅源自於勞倫斯的二元論思想和他獨特而複雜的文藝風格，並且也反映他自相矛盾的階級態度和他在身分認同與生命哲學的掙扎。小說呈現勞倫斯對工人階級的關切並他戀母情結產生的影響，但是他對工人階級同情的描繪大部分和他生命哲學有關，而非真正了解工人和他們的奮鬥。階級是用來當作勞倫斯二元論思想中的分子，即工人階級代表他理想的生命活力，而中產階級則是獨占剝削的破壞力。《兒子與情人》意味勞倫斯早期生命哲學的形成，呈現出為保有自我生命力而遠離生命破壞力的掙扎。
本論文以詹明信和伊果頓的理論為基礎，藉由闡釋文本中的矛盾並文本和當代歷史的矛盾，揭開文本的意識型態。第一章是詹明信所稱的「文本內在研究」並討論莫瑞爾夫婦,威廉和莉莉，保羅、米麗安和克拉拉間的階級衝突關係。第二章也是「文本內在研究」，藉由小說中的敘事觀點和意像中的矛盾，主要探討伊果頓所稱文本的「美學的意識型態」。第三章是詹明信的三層次闡析中的「社會」層次研究，並藉由探討小說的社會和歷史背景討論伊果頓所稱文本的「作者的意識型態」和「時代主流的意識型態」。末章是藉由鳥瞰勞倫斯繼《兒子與情人》之後的小說，勾畫出他追尋生命力的輪廓。

A Bakhtinean Reading On The Issue Of Identity: The Time-Space Continuum, Voices And Folk Songs In Toni Morrison's Song Of Solomon 從巴赫汀理論省思認同問題:《所羅門之歌》中時空性、對話性及民歌之研究

學年 / 88　學生 / Sandy Hsin-Yi Kao 高心怡　指導教授 / Ms. Cecilia Liu 劉雪珍老師　

This thesis centers on the issue of identity in Toni Morrison's＿ Song of Solomon＿ with Bakhtin's concepts of time-space continuum, mutiple voices and cultural aspects. The goal is to explore the problem of identity through the growth of Macon Dead III [Milkman], the protagonist, in the novel. As Milkman undergoes his journey to find his selfhood, he hears different versions of family history, travels various places, and finally traces back to his past and root. When Milkman comes to realize the meaning of his family song, he understands who he is and what he will become.
The contentis divided into three parts--the time and space continuum, the different voices and the folk songs--the function and meaning of each section make Milkman perceive a more complete vision of his past as well as himself. Each part plays a significant role in the process of Milkman's transformation. When he is able to connect the past, places, various stories and the songs together, Milkman becomes a person with past, present and future. Through analyzing these elemetns in Song of Solomon, hofefully we will have a better understanding of the quest of identity and a chace to experience the uniqueness of Afro-American culture.

本論文主要探討彤妮．莫莉森的《所羅門之歌》中主角乳仔（Milkman）自我認知的問題。透過巴赫汀理論中的時空性，多音性及社會性討論個人的自我成長。乳仔一開始對自己的家庭歷史毫無所悉，但經歷一段心靈之旅，他發現眾人闡述的過去,頻現的民歌．．．皆記錄著家庭歷史背景。當他將故事、歌唱、地名．．．拼湊，瞭解到自己存在的意義並非一眛的尋金夢，而是尋求祖先遺留的文化精華。
本文分為三部分。第一部分以乳仔的成長為主軸，透過時空的交錯，乳仔體驗到時間不僅停留於現在，而他必須瞭解過去的意義，才可得知未來的去向。而當乳仔邁向未來的同時，他的旅程卻也領導他走向過去。事實上，乳仔的行徑與當時他的祖先於黑奴解放後尋求美國夢之路徑相反，北方象徵著美麗之地，然而在獲得財富之際，卻面臨“無根”的危機。因此，他的旅行帶領他前往祖先在南方所留下的足跡。
第二部分從小說中的眾聲喧嘩探討乳仔如何由眾人述說過去分辨其可靠性。每個人的故事皆為片面之辭，而乳仔須從不同版本中得到完整的過去。值得注意的是，小說中聲音的衝突使乳仔感到困惑，其中以乳仔的父親及姑姑最為明顯。前者代表父權及金錢的優越性，亦代表多數人的價值觀--資本主義的趨勢。因此可視為向心力--將乳仔推向中心。然而，乳仔的姑姑則帶領他尋求心靈的滿足，相較於金錢的弱勢下，姑姑的聲音代表離心力--將乳仔拉向邊緣。在此二聲的衝突中，乳仔終究領悟根的呼喚，放棄原來所追求的金權，投向祖先的懷抱。此時乳仔心中原本的離心力衍變為向心力，使他成為一個有中心思想的人。
第三部分藉由非裔美籍中的神話及民歌分析歷史與社會對自我認知的影響。在小說中，飛翔的意象藉神話及民歌反覆出現，象徵黑人文化中對自由的渴望。再者，名字亦記錄著個人與家族的歷史。而七日團體（黑人報復白人對其不平等待遇之地下組織）則反映社會中的種族問題。這一切現象再次值得讀者思考個人與社會，個人與文化的關係。乳仔在經歷一趟心零之旅領悟民歌敘述他的家族歷史，名字記錄他的過去，亦體會為何他的祖先透過心靈的飛翔得到真正的自由與解放。
《所羅門之歌》雖然為一開放性結局小說，不可否認此結構提供讀者更多想像空間思考是否乳仔最終學會飛翔，或者航向死亡。誠如莫莉森所說: "結局是充滿愛的" （Ruas 111）。乳仔終究更加瞭解自己，體諒他人，更重要的是--去愛他人。

"TRT OF LOSING ISN' T HARD TO MASTER ": ELIZABETH BISHOP' POETIC MASTERY OF LOSS 「失落的藝術不難精通」:依麗莎白·畢夏詩中失落的創作

學年 / 88　學生 / Tammy Li-Yui Huang 黃麗玉　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

The thesis discusses Bishop's wisdom from losing in order to present the art of losing isn't hard to master. These pieces are as serious, exploring, and as self-aware as those poems, stories and autobiographical essays in which Bishop reflected upon and used her experience of loss. I offer this thesis with a pragmatic purpose and comments. To prove my words, I discuss "the art of losing [that] isn't hard to master." It reveals Bishop's deep wish toward next mastery of loss. Bishop's works suggest what each of us needs to lose and find. No matter what it may be or when it will come, there always a confidence to face next loss: the art of losing [that] isn't hard to master.
Consisting of seven parts, the thesis has five chapters beginning with an introduction and ending with a conclusion. With the application of "the art of losing that isn't hard to master", the writing of loss undergo a transformation loss to a gain to its readers. Elizabeth Bishop's writing of loss contains all kind of observations. Here I call it as the art of losing and define it in two aspects: one is her writing techniques in representing these losses, the other is the sophisticated attitude toward loss. This thesis is an attempt to discuss Bishop's wisdom from writing loss in order to present the art of losing isn't hard to master. Through the reconstruction of the process of losing, understand the traumatic experience and turn them as the wisdom in her writing to profit her readers.

在依麗莎白·畢夏的作品中，蘊含對各種失落的觀察與研究，在此我將之稱為「失落的藝術」，並賦予兩種定義: 一為畢夏的寫作技巧，二是面對失落時應變的能力。本論文試圖從畢夏的重構失落歷程，做為透視自我與他人的弱點，並因這種回顧與檢討的過程，從創傷經驗中了解自己，使得生命中失洛的插曲轉為寶貴經驗，進而提出一個結論「失落的藝術不難精通」。
全文共分七部分:第一部分介紹畢夏生命中的失落。第二部分闡述她如何將失落寫入詩篇，並面對失落時呈現其藝術性的精通及技巧。第三部分剖析各個流離者失落的心結。第四部分藉由一詩中小女孩初識失落的滋味，來了解個人與他人之習習相關，進而發現失落為必經的生命歷程。第五部分從觀查別人的失落經驗，學得處理失落的心情。第六部分是從以上各章歸納出一守則-就是抓住每段時間每個機會。第七部分則綜合以上所論，強調自主的重要性，積極選擇所要的而非被動承受一切。

The Dynamics of Lao-tzu's Yin and Yang: Mapping Caryl Churchill's Sexual Politics in Light Shining in Buckinghamshire, Top Girls, and Cloud Nine 管窺老子陰陽變化：試論邱琪兒《白金漢之光》、《頂尖女孩》、《九霄雲外》三劇性別政治之建構

學年 / 88　學生 / Isabella Hui-yu Liu 劉蕙瑜　指導教授 / Ms. Cecilia Liu 劉雪珍老師　

This thesis is an attempt to map Churchill’s sexual politics in Light Shining in Buckinghamshire, Top Girls, and Cloud Nine in terms of the dynamics between Lao Tzu’s “wu/yu” and “yin/yang.” The two pairs are characterized as the two sides of the same coin according to their hiddenness and manifestation. Due to the complementary characteristics of “wu/yu” and “yin/yang,” Lao Tzu’s theory will serve as a powerful weapon to deconstruct the polarization found in either the patriarchal hierarchy or the matriarchal one based on the dichotomy reinforced by the institutionalized hegemony. It further suggests a better relationship based on mutuality rather than oppression, symbolized in a complementary blending between “wu/yu” and “yin/yang” in Lao Tzu’s “T’ai-chi” and best illustrated in the embrace of the two Betty in the end of Cloud Nine.
Consisting of five parts, this thesis includes three chapters preceded by an introduction and followed by a conclusion. With the application of Lao Tzu’s “wu/yu” and “yin/yang” theory, the sexual politics undergoes a ceaseless fluctuation between “wu/yu” and “yin/yang” and is presented in different ways in Churchill’s plays. Chapter One focuses on the patriarchal hierarchy in Light Shining in Buckinghamshire; Chapter Two, on the matriarchal hierarchy in Top Girls. Finally; Chapter Three, on a new world based on mutuality in Cloud Nine.

本文試圖就老子陰陽有無變化之觀點，探討邱琪兒白金漢之光、頂尖女孩、九霄雲外三劇性別政治之建構。以「陰無」之隱匿（ hiddenness）襯托「陽有」之顯明（manifestation），陰陽有無實可視為一體之兩面。基於陰陽有無之互補特質，老子之理論實為一解構二元對立之利器。此二元對立普遍存在於以制式霸權為主之父權政治及母權政治之範疇中。在解構此二元對立之後，老子之理論進而提出一套立足於共融（mutuality）而非壓迫（oppression）之相處模式。此共融即老子太極圖所象徵之陰陽有無的互補調和，亦於九霄雲外最後一幕中過去及現在兩個貝蒂之互擁下得到最佳的詮釋。
本文共分三個部分，包括緒論、主體以及結論。隨著老子理論之運作，邱琪兒文本之性別政治在陰陽有無之間不停的來回證振盪（fluctuation），並且更以不同的方式呈現。依呈現方式之不同，主體可分為三章。第一章著重於性別政治在白金漢之光劇中父權政治之呈現；第二章著重於性別政治在頂尖女孩劇中母權政治之呈現；第三章著重於性別政治在九霄雲外劇中共融調和之呈現。

Veritas Vitae, Vita Veritatis: Presentations of Life and Truth in J.H. Newman's Apologia pro vita sua 生命的真理與真理的生命：紐曼自傳中生命與真理之探討

學年 / 88　學生 / Christophe Lung-lin Wu 吳龍麟　指導教授 / Fr. Daniel Bauer 鮑端磊老師　

Newman''a Apologia pro vita sua is a rare phenomenon in English literature. It is one of the first literary works which deals explicitly the controversy between the Catholic and the Anglican Church. Newman was an acclaimed theologian, philosopher, historian and an essayist. In the Apologia, Newman is able to blend all his talents to produce a remarkably brillaint autobiography which defines the meaning of existence, and presents his quest for Truth. He uses the ethical argument in classical rhetoric to present his true self, a coherent moral integrity. He adopts a broad historical view to define the meaning of human''s existence and the possiblity of understanding life''s mysteries. Finally he admits that only when a man humbly accepts the ultimate authority can he really encoutner Truth in his life.

紐曼是十九世紀最重要的宗教人物，哲學家，歷史學者，同時也是罕見的散文家。他最著名的文學作品就是他的自傳Apologia pro vita sua.在這部作品中紐曼呈現出他對生命及真理的重視。這本論文目的在討論紐曼如何以自傳的手法表達生命中的真理以及真實的生命。
在維多利亞時期的英國，天主教飽受幾個世紀以來的迫害與歧視。因此，紐曼的皈依震驚了十九世紀的英國社會。在他的自傳當中，紐曼運用了不同的手法呈現出真理與謊言的對立。首先，他用古典修辭學的道德論證來闡明他的皈依過程並不是虛假的。同時，他也未曾濫用個人權力去破壞英國國教的制度及信仰。紐曼也間接地用諷刺的手法回應誤解真理者對他的控訴。
紐曼也以宏觀的歷史角度來看待存在的真義。他以雙重的時間標準來詮釋人生命的終極意義；並進一步以新柏拉圖主義的觀點融合在其文學手法中：象徵，譬喻，以及暗示來傳達真理是以漸進的方法在生命中顯示。
最後，紐曼在改寫其自傳的過程中逐漸領悟他的動機為何。他深切的體驗到個人在終極權威面前的渺小與無能，因而謙虛的承認唯有服從此一權威，真理與生命才能相遇。

Power and Powerlessness of the Author in Kurt Vonnegut's Slaughterhouse-Five and Breakfast of Champions 「五號屠宰場」與「冠軍早餐」中作者之權力與無力

學年 / 88　學生 / Sarah Hu Chen Chi 胡禎琪　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

The thesis is an examination of Kurt Vonnegut's use of authorial power and its relationship with his thematic concerns in Slaughterhouse-Five and Breakfast of Champions. The author is presented as a powerless one as Vonnegut abandons some of the realist and modernist authorial controls over the text. He challenges the omniscient and omnipotent power of the author by presenting a belittled writer figure, exposing the writing process, and renouncing his control over language, plot and structure. However, all these apparently negative strategies help Vonnegut successfully present the absurd and paradoxical nature of his subject matters in both novels. Consequently, the author is actually a powerful one since the seemingly powerless aspects are Vonnegut's strategic arrangements in presenting his unusual themes without falling into the inadequacy of the writing modes of realist and modernist traditions. Historically, Vonnegut's writing strategies respond actively to the metafictional writers and the spirits of black humor.
The first chapter defines the paradoxical ideas of the authorial power/powerless. The following two chapters discuss separately about how the powerless author strategies empower the author in Slaughterhouse-Five and Breakfast of Champions. In both novels, Vonnegut connects his main issues with the subject of writing, which reinforces the presentation of his concerns and the conveying of his messages. In Slaughterhouse-Five, the incomprehensibility and absurdity of war and death echo to the revelation of the failure and frustration of the author in writing, while in Breakfast of Champions, the author's inability actually help reflect the social, cultural problems in American society and the those of human existence.

本論文旨在探討馮內果如何利用寫作略中，作者對小說的權力/無力來表達「五號屠宰場」和「冠軍早餐」兩書的主題思想。也就是說，作者的無力正是馮內果所賦予作者的權力。
馮內果透過對寫實和現代主義的傳統中，作者全知全能的懷疑和放棄，打破完整敘述方法，自暴寫作過程並坦承身為作者的困境和挫折，矮化作者角色，放棄傳統作者對語言的控制。以上種種後設小寫作策略雖使作者相對於傳統作者而言，顯得無權無力，但也幫助馮內果避免受限於寫實傳統的不適用和不足之處。更重要的是，馮內果藉此以型式和內容相互呼應的模式，傳達人生荒謬無常，個人自由意志的受限，死亡如影隨形等訊息。也因此，馮內果荒誕不羈的寫作風格，正是他以黑色幽默的態度來面對人生的最好證明，並非消極頹廢，不在乎世事的虛無主義者。再者，兩書的寫作策略雖是以後設小說為主，但馮內果所關懷的主題不外乎社會的問題，人類的歷史和生存，並非永無止境的虛構故事，或僅以敘述來探討寫作本身的問題。
在「五號屠宰場」中，作者緊密結合戰爭與死亡並呼應寫作一主題，藉由敘述者的自白中，揭露作者寫作過程的困境與個人能力的限度等後設小寫作策略，以及採用黑色幽默的寫作風格來呈現戰爭死亡之間的關係。馮內果將此三主題複雜，難以用言詞形容的特質緊密結合，也因此轉化作者之無力成為另一種作者之權力。
同樣的，在「冠軍早餐」中，作者放棄傳統敘述中對文字、情節和結構的控制來表達對美國文化社會的批判，以及作者身受其中卻欲表達反抗的困境，進而闡述人類生存並非完全由個人的自由意志所能控制，而是此意志與外在內在無法控制的複雜因素和力量所共同造成。身為作者，必須自覺身處的環境，了解人類存在的本質，才能避免陷入人云亦云的思想窠臼中。

Frustration Comes Full Circle: The Structure of Unattainable Love and Excessive Drinking in The Sun Also Rises 挫折周而復始：《旭日又升》中真愛難尋與縱飲之結構分析

學年 / 88　學生 / Katie Hsiu-mei Lin 林秀美　指導教授 / Bro. Nicholas Koss 康士林老師　

This thesis on The Sun Also Rises studies the involvement of love, alcohol, and narrative ending using the methodology of structural analysis. Such an approach attempts to figure out how the structure of each Book and chapter of this novel is built around the concepts of frustrated love and excessive drinking. The major concern is to reveal the narrative patterns beneath the seeming capriciously constructed novel.
The discussion is divided into three chapters. Chapter One analyzes how the disillusion of romantic love constructs the major predicament of the novel: Jake's impotence vs. Brett's promiscuity. Chapter Two deals with how the prevalence of drinking is used to reinforce that predicament and with how drinking also serves as one important structural element of the novel. Taking romantic love and excessive drinking into account, Chapter Three examines the beginning and conclusion of each Book and chapter of the text to show how the open-ended closure is anticipated. The thesis writer hopes by this study of the structure of The Sun Also Rises to provide a way to reconsider the apparent state of irresolution of the characters at the end.

本論文由結構分析的觀點連結愛，酒與敘述結局的關聯性。此研究方法旨在理解《旭日又升》中每一卷與每一章的結構皆建立於受挫的愛情事件與縱飲之基礎上。筆者的目的在於探討表面上反覆無常結構的小說中獨特古怪的安排。
本論文共分三章。首章分析幻滅愛情如何構成書中最主要的困境—傑克的性無能如何面對布蕾特的性雜交。第二章討論縱飲不僅加強角色不可自拔的處境，且也是書中重要的基本結構之一。將愛情與縱飲納入考慮，第三章檢視每一卷與每一章的開頭和結尾，並說明本書的開放式結局早有脈絡可尋。筆者希望能提供某一角度來分析《旭日又升》的結構，並由此再斟酌書中角色最終無解的相互關係。